A Quote by Toni Kukoc
It's a saying if coach likes and sees good stuff in you and wants you to play he'll pick on you, he'll make you work and do things right. Once he stops talking to you, you know you're done.
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People think focus means saying yes to the thing you've got to focus on. But that's not what it means at all. It means saying no to the hundred other good ideas that there are. You have to pick carefully. I'm actually as proud of the things we haven't done as the things I have done. Innovation is saying no to 1,000 things.
A personnel guy always wants to get his pick right. We live that every year. We want to make sure the pick is right.
I think one of the things about being a good coach is to recognise when you have given all that you can. In fact there should be some sort of unspoken law that says that a coach cannot have anyone for three or four years - if you have not passed on most of the stuff you know in that time, then you are not doing a good job.
Now you've been in the playoffs once, you know what it tastes like, you know what it feels like. You know, going through the season when Coach is preaching physicality, how hard you gotta play, how you gotta take care of the ball, why he's saying that. Because all that comes into play in playoff basketball.
It was crazy, like I watched him on TV growing up. And you know, I'd be a little starstruck sometimes, because we'd be in a game, and then you know, I'm looking over at Coach for the play. And I'm lookin' like, Man, that's Coach K right there! He's my coach.
A good man likes a hard boss. I don't mean a nagging boss or a grouchy boss. I mean a boss who insists on things being done right and on time; a boss who is watching things closely enough so that he knows a good job from a poor one. Nothing is more discouraging to a good man than a boss who is not on the job, and who does not know whether things are going well or badly.
I can play on the right, from the left, behind the main striker, or upfront - it depends on where the coach wants me to play.
I know playwrights who like to kid themselves into saying that their characters are so well formed that they just take over. They determine the structure of the play. By which is meant, I suspect, only that the unconscious mind has done its work so thoroughly that the play just has to be filtered through the conscious mind. But there's work to be done - and discovery to be made.
It's simple: You get a part. You play a part. You play it well. You do your work and you go home. And what is wonderful about movies is that once they're done, they belong to the people. Once you make it, it's what they see. That's where my head is at.
And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.
The conscious mind can only pay attention to about four things at once. If you've got these nagging voices in your head telling you to remember to pick up the laundry and call so-and-so, they're competing in your brain for neural resources with the stuff you're actually trying to do, like getting your work done.
Any good director creates a playground. That's what they do. They hire the right actor, open the door and let them play because stuff will happen, right then and there. The audience wants to believe that what's going on is happening for the first time, ever. That's what acting is. That's what good scene writing is.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
Finally, you're right about one point, your entire way of thinking is predicted by what you're immersed in so you know you won't make a bad decision. You can make a bad decision but it's still in the good sphere normally if you work well. You're prepared to face a crew who wants to know everything and poses a hundred questions a minute, because you know you have good reflexes and can respond very quickly.
You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.
I'll bet you there are a lot of Donald Trump people out there who say, "If he has to work with Democrats to get what he wants done, then so be it. Even when Trump did the first deal with Chuck Schumer and Nancy Pelosi on expanding the debt limit - and he talked about extending the debt limit forever 'cause it was such a good thing, Trump did." I had people saying, "You know what? I love it!" I'm talking about rock-ribbed, lifetime Republicans who said to me, "I love Trump sticking it to Mitch McConnell and Paul Ryan, but I not sure I like it being done this way."
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